Thursday, May 12, 2005

A- m. 1-24B- m. 24-32A- m. 33-44-only 1st part of A is repeated...C- m. 44-52A- m. 53-64-only 1st part of A is repeated...

Basically there is the A...it is, of course, the expository section and it is played three times...In between the A section there is a B and then a C... these seem to be developmental because the B seems to be following the exact same melodic patern just on differnt rhythms, and the C is doing it in somewhat of an inverted descending pattern....neato....Something I think is interesting is the repeat signs...so the true layout it AABABACACA, so that step two and three (BA) are played twice and four and five (CA) are played twice too....

The A is in B-flat major of course...The B is in F Major...the dom. of B-flat major....of course...The A is in B-flat major...of course..The C has static G-flat in the bass..so thats my guess...The A is in B-flat major...of course....The end...no mas....it's over...done...HOW ABOUT THAT...

Hooray for Theory! It's sad, tomorrow will be the last class I ever have with you guys...I know most of you are cheering, but really, it's been a blast. No more of my random comments, no more of my witty retorts, I'm sure the place will be much quieter without me (I'm guessing those are songs of praise I hear in the background). Anyway, onto the mazurka. I'm rounding out the year with Chopin, because I'm just in love with those crazy Polish dances. As the chapter states, the form of this doesn't fit into a specific category. The piece has an air of a 5-part rondo, with its ABACA format, but there is one small hitch. For our two unrelated sections we do not have any new material, but rather developmental sections. Our sections are separated by two structural phenomena, a change in dynamic and a change in key. The first key change modulates us to the Dominant key of F and we move from a forte to piano. At the end of the developmental section we have a ritardando, which signals the return of our Expositional material. Our next shift once again has us moving from forte to piano, but this time the key change is to the chromatic mediant key of Gb Major. We once again have the ritardando that reintroduces our Exposition, and voila! A perfect semi-rondoesque mazurka. Chill for 3 hours than serve on a bed of fresh lettuce. Serves 8. I have no idea where i was going with this, I seriously have got to stop watching the food network...

This piece is in ABACA, with repeats of the A, BA and CA sections. There are no transitions, so it can't be a Sonata-Rondo ... must be a normal, 5-part rondo!

A section: It's a contrasting, assymetrical period. The first phrase ends on a IAC, and the second has a cadential extension that eventually ends on a PAC. This section is repeated, ending on Measure 24. The double bar lines and change in dynamics from forte to piano signal a change of section.

B section: We move to the dominant, F Major. This section is sort of developmental of the A section. It ends on Measure 33. Afterwards there's a recapitulation of the A section in its original form and key. Again, we have double bar lines and a change in dynamics - to pianissimo.

C section: This is very tonally unstable - no distinct cadences. This section is also developmental, and is in gb minor. This section modulates back to Bb Major, ending on Measure 52. After this we return to the A section one last time!

Changes in tempo also serve as structural phenomena - we always return to a tempo when we get back to the A section.

This piece begins with a section in Bb Major that is concevably divided into a repeated phrase. I feel that the first phrase goes 4 m's and then has an IAC and then has a consequent phrase that goes 7m's and then PAC's. (asymmetrical) This is then basically repeated. So the first section is tonally closed.

Then we have a new theme in FM that is another period of 8m (symmetrical). First 4m and then an IAC and then another 4m and a PAC. We then have a return of the first theme. Given that this is in the dominant of the first theme, we get a rather binary feeling so far from this.

But then we have an additional section different from the theme in F. This is in fm and is composed also of approximately an 8m period. I feel the melody suggests as HC after 4m and then the PAC elides with the return of the original theme at m53.

Each section is tonally closed, so there is a strong additive feeling. And were the repeats not taken into consideration this would be very much a candidate for a 5 part Rondo in my opinion. Therefore the main theme or A section acts as an organizing structure.

Great piece. It's nice that the sections are divided up by the double bars (for the most part). The A section is from bar 1-24 in b flat major. The B section is from 25 to 32 in f major. The A section returns from 33 to 44 in B flat major. The C section is from 44 to 53 in G flat major. The A section then returns from 53 to the end back in b flat major. Notice the B and C sections being very developmental. The C section is actually an inversion of the principal theme. There isnt enough feeling of section to make this a rondo but it is quite similar to the 5 part rondo.

As far as structural phenomena are concerned, the structural divisions follow period/cadence schemes and dynamics is the most important. This, along with the return of the motive, create a basic rondo type form, ABACA. However, it's not a true rondo because the B and C sections are too dependent on the motive of A.

I'm having a hard time defining the form of this piece, but there seems to be a fairly clear definition between sections. I think it goes something like this: A B A C A. The A section lasts until measure 24, and is expository in nature. Measure 24 brings a change in tonality from B flat major to the dominant, F major. There is also a change in dynamics here with a change from loud to soft. This use of dynamics to define the different sections is seen throughout the piece. The B section begins at measure 24 and continues until measure 32, and is developmental. A returns at measure 33, and continues until measure 44. A is of course back in the tonic key, B flat major. The c section begins at measure 44. Again, there is the dynamic contrast from loud to soft. The tonality also changes to the key of g flat major at measure 44. The C section also seems to be developmental. a returns at measure 53 for the final time in the key of B flat major.

That's it! That's my LAST BLOG! and after tomorrow kids... we are finished with theory!!! It's been fun.... but....YAY!

Now on to the Mazurka. To go straight throught the Burkhart questions:1. There are two major structural divisions (three sections) that occur: -m. 24 - Change in dynamics from loud to soft, change in tonality from Bb to F major also there's a PAC that brings the first section to a close nicely -m. 44 - Change in dynamics - loud to soft, change in tonalit from Bb to Gb major again there's a PAC that brings the previous section to a nice close. There are also two less noticeable phenomena - the time slows down in m. 32 and m. 52, both times this re-introduces the principle theme.

3. Basically, this looks a lot like a 5-part rondo. However, the fact that the B and C sections are more developmental, and don't expose new themes that are a contrast to the old ones, is un-rondo like. However, the changing tonality does make the sections contrast with each other in much the way that sections of a rondo do...

4. I'm not sure what this question is asking, but I'll talk about something. I think the relationship between the parts of this piece is that B and C are just developments of A, which really pervades the piece. These two sections venture into different tonal areas. B is in the dominant and C is in VI.

Thanks to all my faithful readers. By the way, I was Prince German Augmented Sixth. w00t.AM 1337 hax0r. respekt. spoon 00t.

Wednesday, May 11, 2005

there are 3 main sections to this-the expository section is from m.1-24. The melodic line repeated in the first sectionthe second section (B), plays around with the dominant key (f maj). This section is also very piano and legato compared to the A section. The B section goes until measure33. Then the A section returns wit the same structural phenomena as before. I noticed a slight Pac in meas. 36 (back in Bb) . This whole section repeats again. The third section begins very piano and sotto voce, and is in gb major (it's easy to tell by looking at the bass line) but is very unstable in the right hand. It leads right back into the expository A section at measure 53 and ends on a very stable PAC in Bb on both the first repeat and the final end.

This piece appears to be in some sort of Sonata-Allegro-ish form. LAST BLOG! Bach opens the piece in F major, ending group 1 at the beginning of bar 6 on a PAC. We immediately find ourselves in a transitional section, where Bach flirts briefly with d minor, but moves to the dominant key of c major. There is something of an authentic cadence in the 9th measure, but it quickly moves on to transitional phrase ending on a IAC in c minor. A little more transition and we find ourselves after a half cadence in c major to group 2 in bar 24, lasting 8 measures till 31. Nothing too weird yet.The developmental section is very...developmental??? It begins with developing group 1, which lasts from measures 32-42ish. This section is very tonally ambiguous. It's hard to pin down a key, there are b naturals, b flats, e flats and naturals, f sharps, g sharps. It's a little crazy. Around measure 6, we see material from the group 2. In measure 55, there is a large half cadence. This would be as expected...however it's a half cadence in the dominant key. There is no re-transition period. WEIRD. Actually, it's not that weird, it just makes the piece sound very abrupt in change, almost like a sonata-rondo. Instead of staying in the tonic key of F major throught the transition to from group 1 to group 2, Bach insists in flirting with C major and minor. Never fear, in measure 75, we hear our group 2 in the right key of F major, ending the piece on a nice PAC. Whew. PS No coda.

The first four measures of the piece consist of block chords on each quarter note.The first chord established that the key is D minor and goes through a series of chords without any cadence for the four bars and the downbeat of the fifth bar brings us back to the D minor chord but it’s hard to call this a cadence because the chord before it was a G Flat major chord.It does sound like a finale for the section though bV-i isn’t a traditional cadence.There is then a two bars of single line quarter notes that basically is a D minor chord that ushers in the next section.

The next section is four measures of a pedal D7 chord which serves as a dominant for the key of G and has some strong dissonances in the melody with C sharps and E flats that are played several times each before moving on to the next note.

This is followed by a six measure phrase with a new melodic idea with some thirty second notes and triplets and eventually makes its way to C major with a V7-I switching in the last couple of bars.This is followed by a short pattern of grace notes for two notes that go down and hit an A9 chord then a really weird chord with a G, A, B, D flat, and F which is the chord that a melody that is similar to the one that was on top of the D7 chord.This is followed by a couple of very fast lines going down followed by really high chords.

And from all that weirdness, the original chordal structure comes back for a recapitulation.The first two measures outline the same chords that happened the first time but the second two measures’ chords are changed and ends up making a plagal cadence of sorts going from F minor to a C major with a 9th.The C major with a 9th chord is the final chord of the song, and on top of it is some of the same melodic type content with the thirty second notes and triplet figures.

Though there is some feeling of going back to similar melodies throughout the song, in this Impressionism style form really isn’t important and the only thing Debussy really does form wise is to put a recapitulation in near the end.

I'm not exactly sure how to analyze a mazurka but I will try to write about as many things as I notice. The piece is written with a 3/4 dance feel, thus, it is a mazurka. Ha ha. Dah. Anyway, the dynamics really help the listener hear the different sections. The first section starts forte. It's very interesting how this piece is notated. The same notes are used in 3 consecutive phrases but the ryhthm is altered just enough that it makes a very unusual and exciting opening. I feel, however, that this motive gets a bit stale by the end. I counted that this rhythmic same note pattern is played 12 times during this piece and the piece is only 2 pages to begin with. Often the material played between these repetitive motives is very similar as well with and eighth followed by 16th rhythmic pattern. The next section that starts after the double bar line is in the dominant of B flat major in F M. This section adds dotted eighth ryhthms. It's very unusual because the first two phrases are tonally identical and rhythm is also similar except that the second parallel phrase excludes the dots and uses straight eighth note rhythm. Then the theme from the A section returns before the next double bar line. Now I think we're in the key of G flat M. This is my favorite section because it sounds Egyptian in nature. The static bass sounds like drums while the melody sounds like snake charming music. Then the A theme comes back in the original key to close up the piece. It's very difficult to define it by one form because the motive from the A section comes back so often it never allows for a true feeling of a new section. I would say there are slight hints of an A, B, and C section though.

Tuesday, May 10, 2005

This is an awesome piece. It is in Sonata rondo form. The A theme is very easy to pick up on. It usually starts the second half of a measure following a fermata. As is typical of Beethoven, the dynamics are very dramatic in the piece and really highlight the changing sections. The B section goes into triplet motives that are very exciting. This section ends on the dominant before returning to the A section. The A section is pretty identical to the first A section and eventually ends the overall exposition closed. The C section is very large and goes through many keys. It continues ideas from the first A and B themes, particularly highlighting the triplet patterns. This ends with a transition of a long descending scalar pattern that brings us into the recap. and a return of the A section. Then there is a repeat of the B section. The B section is extended this time and makes use of new harmonies. The A returns for the last time. This time it doesn't stand out as much because it doesn't start with the pickup. It does, however, have the same harmonies. There is a closing that leads into a dramatic coda at 193 that is full of big chords and scalar passages. There is one final triplet pattern at the end that seems to be saying, "Good-bye" that concludes the piece on a booming FFF.

.This movement is a sonata rondo form beginning soundly in C minor..The form was ABACABA, typical sonata form.The A section consists of three smaller themes (thats how I hear it anyway) 1. mm 1-8 2. mm 9-12 3. mm 12-18 ending on a PAC in c minor making the A section tonally closed. There is a somewhat extensive transition, starting in mm. 18-24 and its easy to tell that a change is coming. Tonality shifts at this point and the B section begins in mm. 37. The first phrase ends in mm. 43 on a PAC. The second part of the B section begins in mm. 44 and continues to mm. 50 and imitates some aspects of the first B section phrase ending on an unsteady HC. The C section begins in mm. 80. The other two sections repeat to complete the sonata rondo form, ending tonally closed in c minor...

Sorry this blog isn't very extensive but its 5:34 in the morning, I decided to bite the bullet and stay up ALL night writing my pysch of music paper... i don't have much patience.

alrighty, movement III....not quite at it's finest, and for that i apologize.

we start in Bb. it's a rondo form. there is a HC at m. 4 and a PAC at m.8. sorry this is kind of random, i'm running off of fumes of the "Sun Juiced Berry Banana Energy Drink from the local Greencastle gas station." to quote Tyler Pawl..."it takes you back to the days...when humans didn't speak." There is another HC at 12 and a PAC at 16. The next four bars make a lovely...actually, kind of boring, transition. B starts in m. 20. the rest clued me in on this.

Jim, "WHAT THE JUNK??!?!?!?!? ABORT, ABORT....THEY'RE CALLED BUI DOI...."....sorry, i was just trying to type, and then i typed what i heard...which really had nothing to do with mozart at all.

There's a PAC at 36, then another stupid transition. A comes back at 41. at 56 there's another stupid transition...maybe mozart was pulling an all-nighter too...i heard he was under a lot of stress. C comes in at 64. We get transition number 2 at m. 108. A is back at 112, and B's development at 127. I'm sorry that I'm not including anything useful, but it's sort of difficult for me to see right about now. my eyes are blurry. and i laugh a lot.

The mother of all transitions comes at 198. this is impressive, folks. i love it. it makes up for all his boring transitions before them. maybe i'm just so tired that i'll settle for anything right about now. scheise, it's getting light out. i'm never to going to get to bed. i should be pretty happy by the time class rolls around...if i'm still moving. A is back at 200. there's a hot PAC at the end...and a couple before that. I guess A morphs into a terminative section.

This is in Sonata rondo form. The main theme, A section, a parallel double period, has a PAC at mm. 8 and mm. 16, with HC at 4 and 12. Then until mm 21 is a transition into the dominant. Thus begins the B section which is the development. This has a lot of 16th runs and such, very typical to Mozart, which ends on a PAC in mm. 36. Then there is a transition, and the A section begins again at mm. 40. I would actually call this A prime because there a few differences. After the second statement of the A section, the C section (mm.64), in the relative minor, begins and really develops its theme. It is very syncopated and chromatic, not light and musical like the original theme. It really slows down towards the end with a modulation that ends at mm 112. The A section is then recapitulated in the original key and then the D section picks up and mimics the B section. At mm. 173 glimpses of A are heard, but it isn't until mm. 189 that the real A section stands up and finishes this piece.

This movement is in sonata rondo form, which kind of confuses cuz we have already analyzed it as a rondo. I guess this just shows how similar the two are. The A section has three themes while the B section has two. The C section also has three themes. The A section is in c minor. The B section is in E flat major. The C section is in F minor. This piece is a combination of the rondo and sonata principles because of the number of themes in each section and their ensuing development. There is also a strong binary and sectional feel because of all the development.

WELL...since I'm toooo lazy to walk over to the SOM and get an actual score, I am going to do one from the Burkhart...

The ONE and ONLY.... MoZaRt...SONaTa IN B-FLAT MAJOr....K. 333, III....right..here we go..

well well well...this little movement numero III, is a sonata rondo form....THE END...well, not really...

Anyways...CAD.S....I have spotted the first one to be in m. 4...a HC...then a PAC in B-flat major in m. 8. that is our first period, and it is then repeated but with a more developmental feeling under the melody. There is a HC in m. 12 and a PAC in m. 16.

from the middle of 16 to the middle of 20 there is a little transition, and in the pick up to 21 there is an E natural that really tells us we are in the dominate of B-flat major..(F major)..

This B section starts as i just said in the pick up to 21. The first cad. seems to be a IAC in 23, then another in 29, but maybe in 31...then there is a PAC in 36..

The next four bars after the PAC is a transition back into the original key so that there can be a repeat of the A section.....it repeats...the A section, that is...

This repeat of the A last from m.41-56....from 56-64 is a sequencing modulation which ends up cadencing on a D major chord..this is the cad. right before the C section begins...

starting in the middle of 64 is the C section...which last until m. 110 then a little ditty carries us back into the A section in m. 112. This section is what seems to be d minor, which is the relative minor of F major...the dom. of B-flat major...

m.112-127 is the return of the A...then it enters a section which a dev. of B..so...B' or D...depending on how similar to B you hear it...This section contains more runs..triplets..and last until m. 173 where i believe there is a fake return of A.. at first is sounds as if it might be coming back but soon goes into a very transitional section and then in m. 200 we see the return of A again, but soon turns termanitive to end the piece....

This piece is in sonata-rondo form, though I feel it leans more towards the rondo feel rather than sonata, primarily because the C section doesn't develop previous motives from the movement. Instead, it presents entirely new material, which is in a very different feel from the rest of the movement, which is very stormy and passionate.

It does adhere, however, to the A B A C A B A format. I refer to the different sections with a number after them to indicate which repetition of the section I'm talking about.

The piece begins right away with A1, which has two themes (Aa and Ab). Aa is made up of one phrase which ends with a PAC in m. 8 and is extended to m. 12, where it ends with another PAC in c minor. This begins Ab, which lasts only five measures until m. 18, ending with a forceful PAC in c minor - A is closed tonally. There is a transition in mm. 18-25, which modulates to Eb major and therefore begins the B section.

Once Eb has arrived in m. 25, it is still not firmly established - Beethoven plays around with eb minor just five bars later. Therefore, I hear this as still transitional material. However, it's important to address the measures 25-29 (x) separately because they contain thematic material that will be developed later.

B has two themes (Ba, and Bb). Ba begins in m. 37 and is defined by triplets played in a call-and-response manner between the right and left hands. It ends with a PAC in m. 42, and right away Bb begins. This theme ends with an IAC in Eb major in m. 51 and leads back into Ba, making the B section a small rounded binary form.

The return of Ba is not ended with a PAC in Eb major as it did the first time. Now, it leads into a transition (mm. 56-60), which ends in a HUGE HC in c minor, bringing the return of A (A2).

A2 is replayed much as it is in the beginning - Aa goes from measure 61- 73, and Ab picks up there and finishes with a very strong PAC in c minor in m. 78.

At this point, the C section begins in Eb major. There is a completely new theme - it is characterized by the soft, smooth playing of half notes. It is made up principally of four half notes followed by a quarter-note line that brings it to a close with n IAC in Eb major every four bars. This motive is manipulated - inverted, played in octaves, played in the left hand, etc. It is played a total of four times before a transition begins in measure 95 and lasts all the way until measure 120, ending with a huge half cadence in c minor (it modulated along the way).

A returns (A3). This time, however, after Aa, Ab doesn't come back. Instead, Aa is developed in mm. 128-132, and then x, the transition between A1b and B1a comes back. It's dolce-ness is a nice contrast at this point. As in the beginning, it leads to Ba (this time B2a), which is now in G major. B2a is followed by B2b, which begins in m. 153 and leads into a transtion (m. 162) which leads us to the return of A (A4).

The return of A lacks Ab again, but instead goes into a transition, which leads to a terminative section that begins in 182. This section is very stormy, and lasts until the end of the piece (obviously). There is a REALLY interesting moment in Ab major in mm. 202-205 - after a huge HC in f, a quiet, calm melody cuts in and is played twice. The piece concludes with a huge descending scale, ending with a fiery PAC in c minor that seems all the more furious because of the quiet moment just bars before.

Monday, May 09, 2005

Once again I must say I really love this entire piece and this movement is no exception. However, the Sonato-Rondo form just seems gratuitous. I think that composers ran out of forms around 1770 and decided to just run two things together until it sounded good. Anyway, the A section is a parallel double period, with a PAC at 8 and another very similar one at 16. In between (at 4 and 12) we have half cadences. This is our Primary Theme that will be further developed. From 16 until 21 we have a transition that brings us to our super-fun dominant key. At 21 we begin our B section, which in in the dominant key and feels very devlopmental, since we have a lot of virtuosic fireworks going on, with 16th-note runs keeping the harmonic rhythm moving forward furiously. There is no real cadence until 36, where we PAC in the dominant. The next 4 measures serve as a transition back to our original material and the return of A. This A section is almost an exact copy of the original, with slight variation. The C section begins right after the A section and is significantly longer than the other two sections we've had so far. The movement is also developmental, using heavy chromatics as well as dotted-rhythmic patterns to break up the monotony. The section is in the key of iii (relative minor to the dominant). This section lasts from measure 64 all the way until 112. we have a large ritardando at the end of this section, in which we slowly modulate back to our original key for another repeat of the A section. The following D section somewhat echoes the B section in rhythmic pattern and really gives the piece a rounded feel. D meanders back to A at 173...but we realize it's not in the right key. Pysch-out aside, we return to the transitional section and return to the real A at 189 and bring this heffer back into the barn.

The A section consists of 2 periods. The first period has a 4 measure phrase which ends on a HC, and an 8 measure phrase which ends on a PAC. There is then a parallel period which ends the A section on a PAC. There is then a short transition, which modulates to the dominant key by measure 21. This is the primary section. The B section (alternating section) begins in measure 21 and continues through measure 41. The only cadence I was really able to pick out was a PAC in measure 36. The rest of the cadences seem to be disguised by the left hand moving the harmonic progressgion along. There is then a 4 measure transition back to the A section, and we have an exact repeat of A. The C section begins at measure 64 and continues through measure 112. This section is very chromatic and developmental. It modulates to the relative minor of the dominant key. The C section leads back to the A section, where we have another exact repeat. I'm going to call this next part D, but I'm not sure if that is exactly correct. D is very similiar to B, especially as far as rhythmic motives go. There is a false return of A at measure 173. Measures 188-199 serve as a transition back to A.

This movement is in Bb Major and the primary section starts out with a HC at measure 4 and a PAC at 8. This is expository material that is just essentially repeated twice. Next is a transitional area that brings the movement to the dominant at measure 21.

The alternating section is 21-41 where the tonality is a little less structured. There's a PAC at 36, and then a 4 bar transition back into A material in the dominant key. This is basically identical to the first A section.

The C section is much louder and in d minor which is the relative minor to the dominant of the original key. There is a PAC at the end of the first 8 bars of the section. There is alot more chromaticisim going on after that which ultimately brings us back to Bb major and the A section once again.

The D section is somewhat similar to B but not similar enough, So it's stil D....deal with it. It feels as though Mozart has returned to the A section at 173, but he was joking....he finally transitions at 189 bringing us back into A.

The A section begins soft, has a half cadence after 4 measures , and a PAC after 8 measures.This is period number 1. After this, there is a parallel period which ends strongly on a PAC to end the A section. Now there is a short transition sectionwich brings us to the dominant key by measure 21. This the Primary section. The B section lasts from about m. 21 to m. 41. I don't hear a solid cadence till m. 36, where there is a strong PAC. This is sectional. After the cadence in measure 36 there is a 4 bar transition section back to the dominant key and A section. It is an exact repeat of the A section Then we have the developmental C section. The C section is lasts from m.64 to m. 112. We have modulated to the relative minor of the dominant key, d minor. This section begins with an 8 bar phrase that ends on a picardy third PAC. Mozart flirts with the tonic in bar 87. This section is a very chromatic development section and it leads us to the A section and B flat major. This is an exact repeat of the A section. The next section is D. It is similar to the b section because it uses many sixteenths. But, it is longer and it quotes other sections. We then have a false return of the A section at 173. A transitional section from 189 to 199 leads us back th the A section.

This is a very clear example of a Rondo-Sonata form. First we have a sixteen-bar primary section (A) that is a repeated phrase ending on a PAC both times--thus it is sectional. We have approximately 6 measures of transition (which leads us to BM) until we reach the Alternating Section (B). B is a 8m, with two parallel, symmetric four measure phrases. The first ends on a PAC in B, as does the second, though it gets undermined by an A# in the bass moving down to an A natural, suggesting that this B chord is a HC in E. Then it jumps straight back into A, but the second phrase of A changes and acts as an ellision into a small transition into GM, which takes us to the large C (the real development). And this C is considerably larger than any of the individual sections. The ABA formed a sort of sectional binary that did not close but ended open and led into this. At m 82 we've already been dealing with a pedal tone of B for several measures prior, and the d#'s are hinting at an em. Here the piano goes into a long chromatic run ending on a giant half in EM, taking us straight back to A. The return of A is the same, only the transition into B is different, as B is shifted down AM. B ends on a PAC in A that changes into a HC on E. For the final E, we get one phrase of the original 16m--though with different piano texture, and it ends on a HC but doesn't really stop, we get another 4 measures and a nice big HC and then ten measures of a terminative coda.

Only two more blogs to go! Whew...This Sonata-Rondo form crap is confusing

The A section begins quietly, with a half cadence after 4 measures , and a PAC at bar 8 marking the first period. A parallel period follows, to conclude the A section on a strong PAC. A short transition section follows, leading us to the dominant key by measure 21. This the Primary section.The Alternating Section, or the B section, lasts from about measure 21, all the way to measure 41, 20 bars later. Significantly more chromatic that the previous section, we see fewer obvious cadences and phrases. I hear an IAC at measure 23, but don't hear a definate cadence till measure 36, where there is a strong PAC. The sixteenth notes and light left hand accompaniment push the harmonic motion along, preventing harmonic rests and cadences. This is definately not periodic. I would call this sectional. After the cadence in measure 36, we have a short 4 bar transition section back to the dominant key and the Primary A sectionYay, the A section. It is an exact repeat of the A section, leading us to the developmental C section.The C section is long, lasting from measure 64 to measure 112. We have modulated to the relative minor of the dominant key, d minor. This section opens loudly to a phrase ending 8 bars later on a picardy third PAC. I'm tired...Mozart plays with sequencing up dotted sixteenths, flirting with the tonic in bar 87. Blah. This section is very chromatic development section, that basically leads us to the A section and B flat major.Another exact repeat of the A section.This next section is different enough to be labeled D. It is similar to the b section as it uses many running sixteenths, but is longer and quotes other sections. Notice the triplet sections, and the dotted rhymic patterns. Mozart flirts with a return of the A section at 173, but it is a false return. A transitional section from 189 to 199 leads us back th the A section.Yay, the end. The A section. It is very terminative. The end....help...blah...need sleep...asdflkjasdf.

It's sonata rondo time and time to count down the number of blogs left. Just 2 after this one!

The A section of this piece consists of an opening period which is eight measures and has a HC after four measures and a PAC in the eighth measure. This is followed by a five bar phrase that ends with a PAC and then a shortening fo this phrase that lasts only two bars with a PAC that seems to be repeated but the cadence is extended so it makes a four bar phrase ending with a PAC in our key of B flat.

The B section begins with a four measure phrase that is based on the arpeggios of I and V ending with a HC followed by another phrase that has similar triplet lines to the later parts of the A section and after four bars it hits a V-I but it doesn't sound cadential and ends up modulating to F major in the next measure ending in a HC. Now in the key of F there is a four bar phrase that ends with a HC then an extended phrase to seven bars and ends in a PAC. This is followed by four bars of trills that sound very transitory followed by a big dominant chord back in the original key of B flat and a long single line in the right hand that transitions back to A.

During this A section, the first period is exactly the same as it was during the opening but it moves from here straight to the C section.

The C section starts with a long eight measure phrase in the relative minor key of G minor that ends with a HC and is repeated. This is followed by an eight measure period with a HC after four bars and a PAC in the eighth bar. This section has many of the same feeling of turns and whatnot of the A section. A series of chords in three measures transition the music back the A section.

This time the A section is exactly the same as the first time except the little joke at the end with an grace notes into tones F and A flat after the PAC in B flat.

The next section is unique so I'll call it D and has three four measure phrases in the key of E flat major that end with a HC, IAC and PAC. The melody of this section harkens back to earlier sections. The next part takes transition feel with triplet lines and has a HC after four bars and an IAC back in F after five bars. This doesn't mean the transitory feeling goes away because the crazy triplet lines continue for four more bars ending with a HC.

We have the return of the A melody but the return doesn't seem complete becasue of the trills that accompany the melody with the other hand. There is an IAC after four bars then the hands switch and do the same thing for four bars ending with an IAC. This is followed by an eight bar phrase that first sounds like the B theme but then goes back to the ending parts of the A melody and ends with a PAC. This is followed by another transitory section with two six bar phrases that end with 2 HC's that go into the true A.

The true return of the A is the same as the original except there is a little cadential extension at the end that emphasized the V-I relationship a couple of more times for a tiny little coda.